"In the late 1960s, many minimalist sculptors dismissed photography as inconsequential to the concerns of their three-dimensional work. Far from communicating the presence of sculpture - an experience in time and space - the photograph was a cheat, an evidentiary document. The columnar form utilized so often in that sparse and conceptual era worked as something of a spiritual aperture, a portal from the material to the immaterial. But perhaps the photograph was always, too, quietly considering equivalent questions: lying flat, it begins to hover, glow, mirror, and fold us into its passage. Gathered from artists' studios, long-extinct magazines, bequeathed archives, dusty catalogs, and official monographs, Endless Column is a collection of these images."